Assessment - Impact on Students in High School Drama/Theatre
Assessment is determining what students already know, have learned, and need to learn. The resulting feedback and critique should always be balanced, acknowledging competency, progress, and goals for improvement. Implementing an assessment/critique process will establish trust and yield a rich environment for learning. This is achieved by the teacher modeling age appropriate and culturally sensitive approaches to critique (for example, by guiding peer feedback to illuminate what is apparent in a performance as opposed to what may be wrong in a performance). The subtle distinction between personal criticism and constructive feedback is vital to the growth of the student and will affect their progress. Drama/theatre asks the individual to be honest and brave, and thus vulnerable in action. Only when a student is allowed to take chances and feel supported, will the cohesion of truthfulness in storytelling emerge. Successful navigation of assessment/critique will lead to achievement.
Assessment in the Drama/Theatre Classroom - Video Overview
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Formative Assessment
The goal of formative assessment is to monitor student learning to provide ongoing feedback that can be used by instructors to improve their teaching and by students to improve their learning. Formative assessments need to flow naturally from the interaction of the educator and the students. As respect and familiarity grow between the teacher and student, trust develops that will help the student refine their product and help alleviate the fear that often accompanies assessment of performance.
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Summative Assessment
Summative theatre assessments are used to measure student learning and skill acquisition at the conclusion of an instructional period. Summative assessments may be used at the end of a unit, a series of lessons, or a production. These assessments should provide opportunities for the students to demonstrate their achievement of the theatre learning standard(s). Performances and performance assessments should build on prior learning standards in a natural way, allowing for growth and improvement from one performance to the next.
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I.DT.CR.1.2 Imagine technical elements for a unified drama/theatre concept by exploring the impact of technology on design choices in a drama/theatre work.
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Summative Assessment: After presenting the process of theatrical design and introducing various prominent contemporary designers, ask students to demonstrate understanding through responding to a song of their choice. They will create a slide presentation that conveys the content and mood of the song, in terms of design elements such as line, shape, color, texture, and movement. Each slide should include an introduction stating the Name/Artist of the song, as well as a statement that summarizes their impressions. Students will present these for the class and they should be able to clearly explain the relationship between their impressions and the mood of the song.
THEATRICAL DESIGN - MOOD IMAGERY
- Non-Existent- The student presents ideas that are not supported by image choices in relation to each of the design elements. The student does not articulate the relationship of their image choices to the mood of the song.
- Emerging The student presents ideas that are consistently well supported by some of the image choices in relation to each of the design elements. The student somewhat effectively articulates the relationship of their image choices to the mood of the song.
- Growing The student presents ideas that are consistently well supported by image choices in relation to each of the design elements. The student is mostly effective at articulating the relationship of their image choices to the mood of the song.
- Excelling Slideshow ideas are well supported by choice of images in relation to each of the five design elements. The student effectively articulates the relationship of their image choices to the mood of the song.
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I.DT.PR.1.2 Understand that there are multiple choices for each character and select the most supportable choices for the moment.
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Formative Assessment: Students demonstrate their understanding of basic character and scene analysis using the “GOTE” method (Goal, Obstacle, Tactics, Expectation), from Robert Cohen’s Acting One, in preparation of scene work. Students analyze a short scene for performance from the perspective of an assigned character. They will use the GOTE-worksheet to complete the analysis.
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I.DT.RE.3.2 Evaluate the effectiveness of technical elements in conveying the theme of the drama/theatre work while respecting others’ interpretations.
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Summative Assessment: Ask students to assign color to universal themes using a basic color wheel. For example, the student may assign red to love or black to evil. Split the class into groups and ask them to come to a consensus on the color-theme connections. They may agree, though some may have to defend their viewpoint. Ask the groups to decide on one color/theme combination and then determine how to creatively convey the theme through use of color on stage. Technical functions such as lighting, costuming, or set design can utilize color to convey themes of a drama/theatre work. Ask the groups to creatively use color to convey their chosen theme.
Discuss the value of the color scheme in a production and how lighting design can translate themes. Evaluate the effectiveness of each group’s presentation. Allow students a second attempt for improvement.
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I.DT.CN.1.1 Choose and interpret a drama/theatre work and identify similarities and differences between the characters' experiences and student's personal experiences.
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Summative Assessment: Within a drama/theatre work, the author offers a perspective to be interpreted and understood. Present students with a mind map template to determine what that perspective is by reading, considering, discussing, and concluding the theme(s) of the story. The student defines the theme and speculates as to its significance in a series of explanations by answering questions like, ‘Why is this story important to the author?,’ ‘Why is this story important to society?,’ and ‘Why is this story important to me?.' The student assigns relevance to the drama/theatre work and then draws parallels between story and personal experience.
Students can dig deeper by performing a scene from the drama/theatre work, layering their own experience into the story. Improvise dialogue to align story with personal belief. Ask the student to reflect on beliefs and determine if they are similar or dissimilar to their own. Further questions to pose: ’Does the author’s perspective align or differ with my own beliefs?’ ‘Why is a varied perspective important to storytelling on stage?’ ‘How can personal beliefs inform a performance?’
Superior: The student demonstrates a clear understanding of the author’s perspective and is able to convey introspection as to those perspectives presented in the drama/theatre work.
Proficient: The student identifies basic author perspectives and relates at least one personal experience/perspective to the drama/theatre work.
Substandard: The student cannot identify the author’s perspective nor demonstrate solid analysis of personal beliefs in relation to the drama/theatre work, in which case, ask the student to dig deeper and look for more details to examine.
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